i wasn’t going to post this initially, but i tinkered it too much to just let it sit in my drafts lmao. i think i wrote this while working on another wip- i just really wanted to write a chase scene lmao. i’m a sucker for The Chase in all forms.
contains: fem reader, typical bkg potty mouth
You slam your train pass to the sensor, fidgeting impatiently as it registers and lets you pass. Once the gate opens you hurtle through, taking a second to look back and see how much distance is between you and your pursuer.
Not much— Bakugou’s at the gate, glaring daggers at you and you think maybe he’ll jump over it instead of paying the fare like everyone else. You don’t take the time to find out though, and barrel down the stairs to the platform, jumping three steps at a time. When you hit the ground you can sense Bakugou hot on your tail, but you don’t dare look back. You have to figure out which train to get on. Preferably one that’s about to leave.
You start running again, spotting a train that looks like it’s been sitting at the platform for a hot minute. That’s the one you need to board. You sprint toward it, dodging college students, salarymen and anyone else unlucky enough to be in your way.
Behind you, there’s a loud howling and you know it’s Bakugou.
Shit.
You were hoping he wouldn’t see which train you were going for.
It’s fine though.
Probably.
You throw yourself onto the nearest car and start moving, etiquette slowing you to a brisk walk as you head toward the next car. A couple girlish screams behind you alert you to Bakugou’s arrival onto the train. Inwardly, you curse and pray the fangirls can keep him distracted long enough for you to put some distance between the two of you.
You make it to the next car without issue, and you’re about to move onto the next one when you hear his voice behind you.
“Stop fucking running!”
If he were paying any attention then he'd know that you're not actually running you're walking, walking very, very fast. Not that it matters to him.
When you reach the next car you spot a sign that fills you with relief hanging above the door on the opposite end. If you can make it through that door then you're home free.
He’s close though, he’s very, very close. If you are just a touch too slow then he’ll catch you and it will be over.
You can sense him lunging for you and you say fuck it and just throw yourself at the door to the next car. He almost, almost gets you, his fingers brushing the back of your blouse as you pass through the threshold of the women’s only car.
Triumphant, you turn around and see him glaring at you on the other side of the door. There is naught but air between you, and you both know that technically Bakugou could just take a few steps forward, breaking the rules and enter the women’s only car to grab you if you were a villain or something like that.
But you’re not.
You giggle and stick your tongue out at him, clearly mocking him.
He scowls, annoyed and handsome and then slams his hand on the door frame connecting the two cars threateningly. “Betcha think yer so goddamn smart— running in there, but joke's on you, princess, ‘cause there’s nowhere else for you to run now.”
Slowly, you blink and turn, looking and sure enough you’ve run yourself right into a corner; this is the last passenger car.
Fear starts to crawl up your stomach, but you keep your expression neutral.
“Just you wait,” Bakugou snarls, sounding almost amused as you think of how you’re going to weasel your way out of this. “Yer gonna hafta get off eventually and when you do…”
He trails off, punctuating his threat with a malicious grin and you wonder why anyone ever gave this guy a hero license.
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Suggestion for that idea of Michael hiding inside a Fredbear suit: Combine them. Evan is nice. Or he seems nice. At first. There is a slow horrible realization for Michael and the reader that this poor boy isn't okay. Evan finally has his brother's attention, finally has a brother who says he loves him and apologizes and Evan *refuses* to let Michael leave him again. ("The springlocks only hurt for a moment. Then we can friends forever.")
(post to which anon is referring)
OH that is so mean, i LOVE it
just like,, Evan's been isolated and alone for years with nothing but his own pain and fear. Then, finally, someone finds him, someone sees him! Not only that, but this person is his brother; his brother is empathizing with him and treating him kindly after years of Evan believing he wasn't worthy of such a thing, hence Michael's tormenting and Evan's eventual death.
Saying that Evan "isn't okay" to me implies one of two things: 1) that Evan has still been carrying around the emotional trauma that Michael's abuse scarred him with and thus is emotionally "not okay", or 2) like the other animatronics, Evan's spirit has been twisted into something that, if not outright malicious, then doesn't understand the reality around him or the consequences of his own actions and is liable to (accidentally) kill, and is therefore psychologically "not okay."
But either interpretation could easily loop back around to "Evan spent a long time in his very short life being tormented and abused and quite possibly believing he deserved it, and now that he's been shown a single ounce of kindness from someone he loves, he is NOT letting that kindness escape no matter the cost."
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* intrusive thought screaming and crying and banging on my glass windows *
anyways, if squidward was willing to accept his ‘silly’ or ‘goofy’ side, and not judge himself like he expects other people to, i think he’d finally be at peace emotionally. and it’s not just to accept spongebob into his life in a healthy sense, because he really does need that. but also the fact squidward is so apathetic to the point of making life seem meaningless, shows just how hard he tries to be an adult and to be serious and take things seriously. even in a way that isn’t ‘taking things seriously’, as most people find him lazy at his job. though i’d translate this as a way to deflect spongebob’s pure joy of being silly and goofy at his job, and being good at it. squidward knows he can’t be open and free like spongebob, he feels intimidated by the raw talent spongebob possesses during moments of silliness even. or the ability for spongebob to bounce back eventually, to keep going and keep trying because he cares that much. squidward can be uncaring and mean outwardly though, that comes naturally because of how he’s built himself to be. and when surrounded by people he thinks are ‘just like him’ in the gated community he joined in that one episode, he realizes just how little he relates to that lifestyle. that he backed himself into a corner of being a ‘serious adult’ that truly does not feel at home in his own personality in a sense, but feels the immense social pressure to be seen as professional and mature, especially for his artistic career(s). but for better or for worse, he is someone that benefits from the ‘silly’ or ‘goofy’ side of things. and whether that’s spongebob’s doing or a personal connection to the same things spongebob indulges in from time to time, i think spongebob brings out the best in squidward, even at the expense of his sanity sometimes. until squidward can admit to himself that he’s not a loser like he calls spongebob, that he is just as serious as he wants to be when he wants to be, and letting loose sometimes is totally okay, he will not be able to truly be himself. and the thing that stunts him artistically, may be this wall he puts up to be perceived the correct way he’s been told to by society. so the relationship between spongebob and squidward is actually a deep, meaningful journey into accepting an aspect of an individual that can’t express it for himself just yet maybe, but deserves to be as silly and goofy, and dare i say weird, all he wants. spongebob is squidward’s way out of a toxic relationship between himself and society, and i think if he realized that, he’d finally be happy and able to express himself
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